Groupe Jazz new orleans - Orchestre jazz new orleans - French preservation
groupe jazz new orleans revival orchestre jazz new orleans


jp alessi emanuel paul

Orchestre Jazz New Orleans Revival

Le groupe French Preservation existe depuis plus de 20 ans. Cet orchestre de jazz new orleans joue le vrai Jazz de la nouvelle orleans comme le jouaient les musiciens noirs de 1940 à 1980 Kid THOMAS-Emanuel PAUL- George LEWIS- Capt John HANDY- etc. C'est la periode New Orleans Revival (Renaissance du Jazz) Il semblerait que nous sommes le groupe qui a le plus enregistre de CD New Orleans . Et nous avons joue et enregistre avec tous les plus grands musiciens dans le style Revival

Dernier CD disponible


Cd en hommage à Eric DI TURSI qui fetait ses 54 ans le jour du concert


URCD 320 avec Fred Vigorito & Sammy Rimington


French Preservation New Orleans Jazz BAndDancing to Real New Orleans Music • Upbeat URCD320                  Playing time: 65m. 21s.

Fred Vigorito Boogie; Just a Closer Walk with Thee; Calcutta; Lead Me, Savior; Rum and Coca Cola; Burgundy Street Blues; Pretend; Am I Blue?; Victory Walk; Walking with the King*.

Sammy Rimington, clarinet, alto sax, vocal*; Jean-Pierre Alessi, tenor sax; Fred Vigorito, cornet; Henry Lemaire, banjo;  Dominic Molton, bass; Vincent Hurel drums.

Recorded in Irigny, France, on December 16, 2005.

During the more than seven decades since the beginning of the Traditional Jazz Revival in the 1940’s, Europe has been producing some first-rate traditional jazz bands. The French Preservation New Orleans Jazz Band has been one of these, and this recording of a concert at one of their favorite locations in Irigny, France, features two guests—Sammy Rimington from England on clarinet and alto sax and Fred Vigorito from the U.S. on cornet, both having frequently appeared on other recordings by the band; so all are familiar with each other musically.

The tune list comprises several genres, just as one would have found with the bands playing New Orleans dance halls, and most of the tunes will be familiar to dancers of today.  While the title “Calcutta” may not resonate immediately, once the track starts it should ring a bell.  All the others will probably be immediately recognized.

Each tune is given a thorough workout, there being no three-minute limit as in the days of the 78.  So we find the briefest time, 4 mins. 45 secs., being allotted to “Burgundy Street Blues” and the longest, 8 mins. 50 secs., being given to “Just a Closer Walk with Thee.”  All the others fall somewhere in between these.  With no time pressure, the musicians can explore in a laid-back fashion, and this they do, so that each tune opens up as they work their magic.  Contrary to what we might expect, there is not as much ensemble playing as is often the case with New Orleans style playing, but what each musician finds in his solo is so captivating that one tends not to be aware of this de-emphasis on ensemble work.

Each of the musicians has his moment(s) in the spotlight except one, Vincent Hurel on drums.  He stays fairly unobtrusive, but some pressed rolls are detectable on some tunes and judiciously placed accents on others, such as “Am I Blue” and “Victory Walk.”  If Hurel has cymbals in his drum set, he must touch them lightly indeed. 

The others in the back line do make their presence known.  Dominic Molton is not a loud bass player by any means, and although he is given the occasional solo, unfortunately he is not well miked, as is so often the case with the bass on live recordings.  So we have to strain a little to hear him, for instance on “Rum and Coca Cola.”

The other member of the rhythm section, Henry Lemaire on banjo, has the onus of supplying the necessary chords in tandem with the bass since there is no piano to furnish them. This he has no problem doing, and he provides some nice strumming, as well as single string and tremolo work along the way, as he does in his solo on “Rum and Coca Cola”—the chording with intermittent tremolos keeping things interesting—and also on the bridge and on the out chorus of “Pretend,” where he displays some fine single string and tremolo work.  Lemaire, Molton, and Hurel form a formidable back line that is almost metronomic in its control of tempos. 

The front liners, who have often worked together on other occasions, surf well here on the wave the back line provides.  J-P Alessi, the leader, with his tenor sax substitutes for the usual trombone in New Orleans front lines.   His sax-playing history is not a long one, but he manages quite ably to handle the role of filling the spaces provided by the others for the low tones.

His cohorts, both well known in the traditional jazz world, present some wonderful contrapuntal jazz.  Sammy Rimington is all over the clarinet, showing his command of the low, chalumeau register as well as the upper one, executing flawless runs and arpeggios.  His feature, “Burgundy Street Blues,” which he carries solo with rhythm backup, is ample evidence (if any were needed) of his virtuosity. 

Fred Vigorito, a disciple of Kid Thomas Valentine, laces his playing with flares and growls, à la Valentine, as well as his subtle use of cup and derby mutes.  These enhance his development of theme while improvising.

“Rum and Coca Cola” nicely demonstrates the cohesion of the group.  A moderate tempo established, the ensemble, led by cornet, takes it the first couple of times through. The clarinet then takes a solo chorus, starting in the chalumeau register and then moving up, staying in the upper register for another chorus and executing some great runs.  The tenor sax follows, once through on the melody, then on improvisation for a chorus.  A banjo solo follows, chording with intermittent tremolos, which variety keeps things interesting.  Next up is the bass solo—just a little under-recorded—stating the melody again.  Once again the ensemble comes in to take the tune out after a few choruses, which include some very nice improvising in the upper register by the cornet in the penultimate chorus.

Jelly Roll Morton stipulated the melody should always be present, and the band here adheres to that tenet, one of the front line invariably carrying the melody for a chorus and then handing it off to another member, the others backing with counterpoint, obbligatos, or harmony.  The result is a little over an hour of very pleasurable jazz.

Upbeat CDs are available on the Upbeat web site as well as on-line from sites such as Amazon and CD Universe.

Bert Thompson




URCD 303 Tribute to Capt JOHN HANDY


BLUES FOR MANNY PAUL avec Sammy Rimington et Fred Vigorito


Nouveau pack JAZZ CRUSADE JCCD7020 compose de 2 reeditions JCCD3107 et JCCD3108





Le FPCD 26 CD avec Soren et Fred



le progres

jp alessi emanuel paul tie

le progres

french preservation gregg stafford lucien barbarin brian turnock jp alessi cyrille ouanich

FPCD 25 JAZZ CRUSADE 1965 Revisited

fpcd 25 groupe jazz new orleans


The Dream Team Band groupe jazz new orleans revival

Découvrez le Groupe Jazz New Orleans Revival

De 4 a 8 musiciens a votre service pour vos animations, soirees, spectacles, cocktails, mariages, aperitifs, salons, seminaires, inaugurations ......

L'orchestre Jazz New Orleans French Preservation a ete cree en MARS 2003 avec une seule idee en tete jouer et faire connaitre la vraie musique de la Nouvelle Orleans: le Jazz New Orleans Revival comme le jouaient les musiciens noirs dans les annees 1940 en Nouvelle Orleans.

L'orchestre Jazz New Orleans FRENCH PRESERVATION

c'est 37 C.D.- 2 DVD professionnels et 1 Livre +CD dans les plus grands labels americains et europeens de jazz new orleans.

37vd 2dvd     

Le plus important dans le vieux style est de jouer des morceaux techniquement simples mais terriblement motivant pour le public et les musiciens imprégnés de ce style. La difficulté est de jouer les morceaux que les spectateurs veulent entendre et non pas des morceaux complexes. C'est ainsi que la jouaient mes idoles : Emanuel Paul, Kid Thomas, George Lewis, Jim Robinson, Capt John Handy.......

Notre devise

"si le public s'ennuie c'est que la musique n'est pas le public n'est pas chaleureux c'est que tu n'as pas réussi a les envoû le public n'est pas joyeux c'est que tu n'as pas réussi a les rendre heureux.......Il faut jouer pour le public et non pas pour toi "


Repertoire : Jazz New Orleans Revival des années 1940 à 1970 comme le jouaient les orchestres noirs de la Nouvelle-Orléans au Préservation Hall. (Kid Thomas Valentine, George Lewis, Emanuel Paul, Jim Robinson, Capt John Handy)

Le repertoire est base sur des Rags (Bourbon Street Parade, Bill Bailey, Tiger Rag…) des Hymnes (Batlle Hymn of The Republic, Just a Closer, Lead me Savior…) des Themes du Sud (Old Grey bonnet, Washington and Lee Swing, Hindustan…) des Blues (Burgundy Street Blues, Basin Street Blues, St Louis Blues…) des Melodies rares de la Nouvelle-Orleans (Love song of the Nile, Ice Cream, Walking with the King…) des Rythmes atypiques – Creoles, Valses, Charlestons - (The Waltz you Save for me, Jambalaya, Ain’t she Sweet…) et bien sur les Standards (When the Saints, Down By the Riverside, St James Infirmary…) et des compositions (Melanie Boogie, Blues for Manny Paul, J.P Boogie, Irigny Blues, My Love, Alleluia Alleluia, I love New Orleans ...)


Groupe jazz new orleans Orchestre jazz new orleans


69540 IRIGNY

Port. 06 33 29 44 42

Association Loi 1901 n° W691053654

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emanuel paul official web site  capt john handy official web site

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